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President's Report Good to be bock

Corporate Spotlight Clairmont (amera

Vice-President's Report The season kick-off

Barry Peterson esc Stun people with the visuals

Film Clips Festival ·bears· all

Action/ CSC Calendar

3

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PRESIDEnT' REPORT

Good to be Back Welcome to a new publishing year

of the esc News following our usual july and August hiatus. Wearing my cap as Editor in Chief of our increas­ingly popular magazine, it's good to be back helping Editor Don Angus plan this and the next nine issues. We are seeing exponential advertising growth and outside interest that is attracting new corpo,·ate sponsors. Our newest are M<~gnetic North of Toronto and Cinema J•roducts Corp. of Los Angeles, whose fu ll-page ad you will find in this issue.

Magnetic North provides video post production services, including film-to-tape transfers and tape-to-tape colour correction, online and special effects editing, and electronic paint and animation. Cinema Products introduced the first Steadicam in 1976 and now markets the Master Series, a high-tech, state-of-the-art Steadicam.

We are optimistic the magazi ne will continue to prosper and grow as we head into 1997- the 40th anniver­sary year of the CSC. On that note, donning my President's hat now, I would like to start a national cam­paign for ideas on various ways we can mark and celebrate this milestone in our history. Give it some thought, and fax your suggestions to (416) 266· 3996, or give me a personal ca ll at (4 16) 920-68:iS. Ideas for anniversary magazine features are welcome, and we already have a few in the works. But what else? We want to make '97 a special hallmark in our development.

Let's hear from you. And there is no better time than now to renew our efforts to bring in new members, too. As we celebrate the past, we have to remember that we're never too old to look to the future. e

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CSC NEWS Sep/embe< 1996 3

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CORPORATE SPOTLIGHT CLAIRMONT CAMERA

~ ~ Cameras looked like a good field , ,

Denny and Terry Clairmont have been around movie cam· er.o~ ~lnce !hey were

Holl ywood tykes-doing bits as ch ild ex i ra~ and w<otching !heir dad shoot. They vlrtua)ly cut their teeth on fil m. Now the brothers own and opera1e a I rio or camera renlal houses that pre­miered In lioll)•wood, expanded 10 Vancouver In 1987 and this past June spread 10 a modern fadlity in Toronto.

"M)• dad was a cameraman, • Terry rl'COuntl'<l as he relaxed in the com­fortable ambience of Clairmont Camera\ newly reno,·ated shop on Overlea Boulevard In Toronto's Don Mills neighbourhood. "He emigrated from Slockholm to Hollywood in the early '20s and worked as a oor urllil the late '60s. lie ~tarted my brother and me as child Sland-ins and extra~ when each or us was six months old. Most of our youth was hanging around I he movie studios."

So •cameras looked like a good field" 10 go Into when they grew up. Denny, the elder by six years, decided he liked repairing cameras and Terry became a camera assistant and eventu­dlly a 001' for 20 years, shooting mainly IV commercials. The camera rental bmlness sort or evolved.

"A\ a camera assistant In l lollywood In I he late '60s," Terry said he round that "people working in commercial> on one- to three-day jobs would often get bumped by camera renlal houses for a longer rental. So you're running around on your prep day gelling a camera body one place and a lens somewhere else . . . I got so frumated I bought a new XRJS cam. era and Marted renting it. And my brother would do the maintenance on it."

i\n 1\rrlflc.\ BLI and "all sorts or oll1cr lhlngs" were added to lhe lrwenlory or the sibling partnership. l l ow~ver1 when i t became a nuisance to ru n the enterpri se out or Terry·~ home, lhe brothers made a ree.splll

Tmy a..-1: S.ltiog •P ill Torooto.

deal 10 renl out the equipment lhrough Burns and Sawyer, where Denny wor~ed. Then in 1976, \\ith about Si\ camera packages, •we decid· ed to set up our own place and be our own bosses.~*

Twenty years later, Clairmont Camera operales out of Its own 2 1/2· year-old, three·siOrey, 34,()()().square­fool building in llollywood wi th 87 employees; employs a staff or 11 in an 8,500· squarc·foot facility on the 101 a1 Nor1h Shore Studios in North Vancouver; and now serves Toronto and beyond from fresh 16,250. square­foot quar1ers with a current staff or 10 ln an open concept space designed for 20.

rerry Claormont, who moved to Toromo temporarily to get the project orr the ground, said he'll head back to California "once the snow flies." Busln~~ h already brisk, he talUed, with "1on~ of commercials" and the fcalurcs Utrdtr<' lllfluellct' with Toronto DOl' Michael Slorcy esc and Calm at Sw•S<'t, Calm 111 Vaw11, shot by Glen MacPherson oc of Vancouver.

Clainnont Camera had planned to open In lbronto a year earlier, Terry said, bul sufOcient camera equipment was not available ~pile orders to man. uf<Kturel"' 18 to 24 months in advance. for S('\ era I years, he added. Clairmont was brlngmg in camera packages from Hollywood ~nd Vancouver because or a general >hortage or cameras in Toronto.

"Today." he counted, "I've got 17 Cilmcm packages just to get our doors open. !Jut we'll bring In whatever's nec­essary."- Don Angus •

j ! J

Clairmont era just opened

a place in Toronto.

Toronto • Voice: (416) 467-1700 • Fax: 467-8006 Vancouver • Voice: (604) 984-4563 • Fax: 984-4693 Hollywood • Voice: (818) 761-4440 • Fax: 761-0861

Lance Carlson

The season kickoff ... The year ahead promises to be a fruitful and eventful one. Kicking off

the season Is the first·for·Canada

Variety ShowBiz Expo. which takes

over the Metro Toronto (".om·ention

Centre Sept. 7-8 and promises to be exciting and Informative. Then there

is Cla irmont C.amcra's Open House on

Sept. 25 at Clairmont's new world·

class facility in Toronto. I he time is 7

p.m. and the address II 16 Overlea

Boule\•ard. I think you'll be Impressed. The c•ut ious among u' may have

been wondering whether we can su1>·

port another camera renta l house, but

the major challenge for everybody at

the moment seems to be where or how

to get enough cameras for the business

on hand. I have had occa;lon to deal

wit h the Clairmon t~ at their

1-tollywood facility, and it was imprcs·

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slw to say the lea11. They like doing

busine~ in Canada and they may well

give a further boo~t to our rapidl y

maturing infrastruelurc here.

New technology .. . We will be

getting an in-depth look at the new

digital camera< O\·er the next few

months and perhaps even an update

o n the 1394 Fircwire Interface that Is

sup1>0sed to make thc;c cameras work

with non·linear edit systems. There Is

no shortage of new technology; some

of It even useful. Pardon my cynicl1m;

It'~ lust that a few years ago when the

big guys started promising a new dlgl·

tal video format that would be stan·

<lard and universal all over the world,

I believed them. Technology would

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now a dozen or more digital formats.

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Computers arc changing that, but

sorting through all the permutations

and paradigms cost-effectively is a

challenge for even the engineers

among U>, let alone the bytc-chal·

lenged majority. I think the video

industry would be light years ahead of

where it Is, C\'en In its accelerated cur·

rent state, If there were standards for

tape, disk~ and interfaces, etc. Notwilhltanding my ~ccpticlsm, I

think that when the mi~t~ clear the

DV. DVCI'ro. OVCam will open up a

whole range or opportunities, particu·

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there's something for the big guys to

work on. •

".!!' ENGenue"

(IN ~ (416)975·2565 ~ (416)975-0895

new?

By Lt~uce Cmlsou

... The l'utora Sharpness Indicator, introduced to Toronto-a rea members at the esc meeting in June, is a superb tool for use both as a focus chart and as an effective method of determining the sharpness or a given lens or lens­filter-film combination. The system is equally effective for video and for still cameras.

!'resented by inventor Ivan l'utora, the PSI is not rea lly new. Putora devel­oped it for a university thesis in Prague In the mid '60s and the SMPTE Journfll published an in-depth a rticle about the chart in 1969. However, the sys-

Ivan Put ora explains to CSC members the prin<i· pies bel!iad his Sharpoess lnaKatar.

tem didn't find its way into the mar­ketplace then and J>utora is exploring ways of doing so now. He prefers the term "sharpness indicator" to try to distinguish it from other charts cur­rently on the market, as well as to sug­gest in a generic sense the several key factors which contribute to the image quality over which the DOl' has con­trol.

Th is sharpness indicator, which measures the degree of sharpness (DS) and the resolving power of a lens/film or lens/CCD combination, is made up of a series of test targets comprised of a series of concentric circles. The alternat­ing black and white drcular lines are the same thickness within each circle/tar­get, thus representing an average 50-per-cent renectance (under ideal theo­retical conditions). They are printed on a Reference Field Level background

which is also approxjmately 50-per-cent reflectance (in this case it is actually a calibrated D 0.4 grey). This is significant because of what happens when a lens viewing system or lens-recording sys­tem reaches the limit of its resolving power or its sharpness. The circular tar­gets are of increasingly fine lines and each target corresponds to lines per mil­limetre. All of this is contingent on a test being properly set up according to the conditions spelled out in the design of the chart.

Obviously, in a test the chart needs to be perpendicular to the camera and evenly lit, preferably from both sides with no highlights. What is crucial is the distance from lens to chart, which is 60 times the focal length (for a SOmm lens the test distance is 3000mm or three metres). Again, ideally, you would usc five charts on a test, with one at the centre of the field and the other four placed at or near each of the corners to indicate any differences there. TI1e test can get as complicated as one wants b)• testing at several apertures and/or filter combinations.

What one s= (or doesn't see) is that the targets appear to have different densities. Lower value frequency targets (DSl, DS2, DS3), if sharp, will have clearly visible lines. Beyond the point at which the lens reaches its ultimate resolving power, detail in the target cir­cle is no longer discernable and that cir­de blends into the background. This is enhanced by the fact that both target and background are at 50-per-cent reflectance. Putora maintains that this (50-per-cent grey) is a better method of determining exposure and he recom­mends using his chart for exposure ref­erence. (To match to the standard 18-per-cent grey you would open one stop.) But that Is an ent.ire series or other arguments.

On the developed negative, you also appear to see different densities. But to make a long explanation short, targets that appear lighter than the back­ground are proof or sharp lines, with the others ble11ding into the back­ground. This ~Teates the possibility of a subjective evaluation, without actua11y seeing the finer lines. The degree of sharpness (OS) of the lens is indicated by the highest frequency target that is lighter than the background and the

The Putora Sharpoess loci<ator. d!ar1ing fa<us and lens sharpness in 6lm. video aad slil cameros.

resolution can be verified by examining the negative with a microscope or enlarging (screening) it. Thus the high­est OS target is DS7, representing 55.5 lines per millimetre or an excellent quality lens. DS6 represents 42 lines/mm, a very good quality lens, and DSS represents 31.3 lines/mm.

On a properly exposed print, the background will have the same density as the background of the test chart itself (0 0.4 +!· 0.02). Higher value fre­quency targets will, if sharp, appear darker than the background even if the lines are not distinguishable. Unsharp targets will blend into the background. Thus even a poorly focused print can be helpful in evaluating a negative.

The l'utora chart also works effec­tively with video. Sharpness can be evaluated through the viewfinder. Because of the horizontal scanning, the concentric lines of the test targets will create crossing-wave Jl<1tlC.rns that will stand out from the background. Unsharp targets will be solid grey. A monitor is helpful. A target d<lfker than the background but without lines indi­cates that the camera is seeing the lines but the monitor isn't.

This chart seems to have a range of advantages over conventional charts. It is easier to use and evaluating results is very straightforward, particularly for those who don't have time to go back to university to study modulation transfer curves or other theories of den­sitometry, etc. A seminar aimed at cam­era assistants will be scheduled for this fall, with all interested shooters wel­come. Meanwhile, anyone wanting more information can contact Ivan Putora at (416) 289-0977. e

CSC NEWS Sep1embe< 1996 7

An 'interview with

The commercial world is fast, diverse, expensive and increasingly sophisticated, says this young maestro of 60- second virtuosity. BY DON ANGUS

II You really hove to stun people with the visuals II

wr1bl1!We'l'.d.~ scwry down the dusty, deserted street. Up the road, a dark and menac­ing automobile,

its headlights squinting in the sepia sun like an oldtirne gun-

fighter, throatily revs its motor. An old clock clanks its hands to h igh noon, and a pigeon starts a slow shuffle along an overhead wire, taking its posi­tion for the showdown. W it!J a rom; the car leaps fonvard, the pigeon gurgles and flu ffs and

times its move. The car swerves sharply left and . .. the pigeon misses, its bombs splatting harmlessly on tile pave­ment. There will be another t ime. Pontiac Sunfire. Built for drivers.

THE DUEL: Showdown at high noon. Credits: Jolly Rogtr, director Steve Cho.se ond OOP Barry Petorson uc, for advertising agency Maclaren McConn and Gentrol Motors of Canada.

It's all ovet in 60 seconds, but it grabs the viewer with curiosity, amused tension and then a smile. And a year later it grabbed I he 1996 C$C !lest Commercial Award for its 30· yea r-old shooter, !larry

a esc NEws September 1996

Peterson esc. Commercia ls are his forte. They are something he "!ell into,• he told CSC News, and he wants to keep on shooting them even as he pursues more reature opportunities.

The Pontiac "Duel," which a lso won the 1996 Gold Bessie Award, was shot around Collingwood, O nt., last summer by Jolly Roger. Director Steve Chase "wanted a 'gun!ight' between a car and a pigeon,, Peterson re<.·allcd, "so we shot it much I ike you would an old-fashioned western, where you build the tension up between the two characters and they even tually meet in the middle. We used a snorkel sys· tern to get rea I close to the cable so we cou ld be at the bird's POV as he's shuf­fling along the power line running out from the building.

"A lot of wide-angle shots, 1 0-mil lenses on all the car mounts just to make the car seem even bigger than life and more menacing-let it stretch orr into infinity. I used two cameras, a PanaOex and a Pan-Arri 3 with fi lm

~n esc

stock 5245. And I carried a Jot of fiJ. tration on that, too. I think it was No. 3 tobacco and a No. I or 2 straw. It was real dusty looking, which is what we wanted. It's tough up in Northern Ontario in the summertime to make it look like the desert."

Peterson, a native of Edmonton now living in Los Angeles by way of Toronto, shoots so many commercials it's hard for him to recollect all the details of each one. But he remembers the highlights, the unique challenges and all the wondrous equipment he gets to play with.

"tt's someth ing I real ly enjoy doing. It's something you can come into vety quickly. It's always very short term; you work for three or four days. The projects are diverse, too. You can be shooting something like the Pontiac thing one day and the next you can be shooting in a studio dol ng a perfume commercial with models from New York. You can jump all over the place and do all different types of work.''

Using New Systems •rn the commercial world, you're

also using all different types of lens and camera systems that the features just can't afford. I've used systems that 1 know I'd never see on anything less than a SlS· or S20·mill ion movie.

For instance, there's a new lens system their commercia l guys, and they're that l'anavision came up with two going to make more of them. years ago called the Frasier lens sys- " I've used a miniature helicopter tem. It's actually considered a deep- Inside a building where we had a big focus lens system, which breaks all the chase scene in a commercial for a rules of o r>tics, but that's what they British chocolate bar. It was based on call it. A bug guy-who used to shoot Tlw fugitive, believe it or not. The hell-bugs in Australia-came up with it. copter is about five feet in length with You can shoot a golf ball right in front about a 5 l/2· foot diameter propeller, of the lens at a n inch away and shoot and they hang a small camera off it­someone standing behind it and an Eyemo with video assist. You pan it they're rock sharp. and ti lt it and it's got a little gyro sta·

"The first feature film to use it was bilizer on it. You are in control of the Michael Bay's (1996 release) The Rock. camera and someone else is in control And 1 know they had a hard time get· of the helicopter. It's a little dangerous

ling it because - -----------the com mer· cial guys were using it all the ti me. There arc only two of them in the world right now and they're both in L.A. I've used it on five or six commercia ls already. Panavision bought the

and

is

patent pretty made

much them

available

MASSAGE: Selling the dream. Credits: lolly Roger, diredor Robert Logevall ond DOP Barry Peterson ut, for advertising agen<y Mo<Laron M<<ann and General

to Motors of (anodo/Viso.

esc NfWS September 1996 9

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1 o esc NEWS Sep~ember 1996

Barry Peterson esc: " It's something I really •njoy doing.•

to fly In buildings, but we were able to do It because it was a stadium ty(l(! building In the L.A. area. It's a way of getting shots at 75 miles an hour in the air above prople running. You talk about the shot and what you're expecting beforehand and the pilots are really good; they Oy it where you want It and all you•,-e got to do is point the camera. •

Massive Undertaking "I ;hot a com mercial last year at

Olympic Stadium in Montreal that was supposed to be a futuristic base­ball game, for a drink called All-Sport. We were shooting (Seattle Mariners' star) Ken Griffey Jr., and all these base­ball players had to be able to Oy through the air, the outfielders were hanging from these blimps, and I ended up llght1ng the whole stadium with Xenon~. small Dino lights, a lot of Maxi Brutes, and I think we had something like 250 Parcans. They were all over the stadium, lighting pools of areas where people could sit. We got them from all over, some from New York, some from Toronto, some from Montreal. We had six 4K Xenons

and there were only two in Toronto. We got one from Montreal and the rest came from New York.

" It was a massive undertaking. There was a tractor-trailer full or just cable, and then all the lights and the generators." most o r them from William 1·. White.

"Then we took a lot or what we did there and came back to an airplane hangar In I..A., because there wasn't a studio big enough, and started shoot­Ing players flying across blue screens. It wa~ a combination or massive light· ing at that end (Montreal) and mas­sive compo>iting at this end (l.os Angeles). It turned out to be a real nice spot, although It ended up being USS 1.4 million for 60 seconds. •

Commercials, Peterson said, were "aCtually something I fell into." Back home In Edmonton, he started shoot· ing Su(l(!r 8 at age 14 and subsequent· ly learned his trade as a journeyman "between Edmonton and Toronto, picking up and following people just for the love of doing it." Then he was brought to ·lbronto from Alberta seven year> ago to be In-house d irector of photograph y for special effects at

Light and Motion Corp. "They did all different types of effects. They started with commerCial work and evolved into TV series and features, but I ended up more in the commercial end of it. As the com 1>any grew and start­ed doing non-effects portions of the work, I fell into the commercial shoot· lng.

"When I left the effects world I tried to do everything I could not to do effects commercials for the first few years and almost was doing more MTV-type commercials and even some music videos at the time just to shake the stigma of just being an effects guy. Now everyone has forgot­ten and they ask me if I can do special effects.

"The only thing that was an effect in the Pont iac ' Duel' commercial," he added, "was the poop. It was a com­posite which we shot against green screen and it was put in by computer."

Peterson, who moved to Los Angeles a year and a half ago, has shot over 200 commercials and won sever­al advertising industry awards, Includ­ing the Gold C lio for the Toshiba Canada (•1 checked my Notebook") spot in 1995 and the Gold Bessie for the Ontario Women's Directorate in 1993. He is "completely freelance. I've got an agent and I work wherever, whenever. Generally it's all director driven. A director will say they want you to do the job."

Moses Does Bud Ligl1t He and his wife are "loving it here"

in West Lake Village just outside of L.A., and, though he comes back to Canada frequently to shoot, " it has been non-stop since 1 got here. Ca mpaign-wise I've done a whole bunch of Bud Light spots; I've done Reebok, Nike, Kodak . . .. I just shot Charlton Heston with the Bud Light commercials. Over time, I've shot all different types of people, a lot of ath­letes like Shaquille O'Neal and Michael Jordan. Quite often the bigger the name gets the nicer the person . Charlton Heston actually read tines off camera when he was done. It was three In the afternoon and everyone had hurried all day so we could get him out and he stayed until about 5:30 reading lines off camera to the

®

I I \ I -PANAV/5/0N

I ' I I

C A N A D A o ther actor. •

Peterson said he feels that "com­mercials have become so sophistical· ed-l'm not talking about your basic toi let paper commercial- that as you grow in shooting them the jobs get bigger and bigger and they get to a point where it's com mon to use Musco lights and Techno cranes and whatever you need to get the job done. People have gotten sophisticat­ed, and they want to be impressed with the commercial or they'll just get up and go get popcorn . The work

you're doing has got to capture people in a second or two or they're up going to the washroom. You really have to stun people with the visuals.

"It's really common in the com­mercial world for production to be a bit of a group effort. At times the pro­ducer may say we can only afford something for one day or the director says he'd like to try this new piece of equipment o r the oor says he thinks we need this piece of equipment, something completely different. So, I may say, ' I think this is the right way

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CSC NEWS Sep~ember I 99o 11

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to do It; Instead of using the cable­cam sy)tcm Indoors, why don't we try 1 his helicopter ~ys1cm? It would work great for this.'

"I love knowing what the equip­ment Is and what it's used for and the best applications for it, hoping to use It on a feature. What I like is the fact that I have u\ed It before. I don't have to ask whether this would be the right piece of equipment for the job, because I have used it before, I know It would be and hopefully I can save people money and lime.

•ocflnltcly I have aspi rations to do feature\, that's one of the big reasons I moved to L.A. The work at this end is starting to show that kind of light; I'm starting to get scripts here now and starting to move into that world a lit· tie bit. I've turned down two offers because at thh point I don't have to do a feature to make a living; I want to do a feature to make a good film. •

On to t11e Next Job "The hlg difference I've found

between the feature world and the

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commercial world is that it can be a little frustrating in commercials because you don't actually follow your work. You shoot it, you give it to them and then you're on your next job. In the feature world you get to follow your film straight through to answer prints, which is the next thing for the lool. that you've shot. I've put fllters on cameras and seen after telecine that they've taken them out completely, which is frustrating.

"What I generally do is shoot cham nnd at least they get an idea what I'm trying to do right away. If you ~hoot chart~ stril>i>Cd of all the fil. tcrs and let them set up to the charts, and row ahead a little bit, and then they see that you've put in a grad here and you've done this and you\·e done Utat. And If the director sees that, and if there's been enough dialogue beforehand, he's there to represent )'OU on the suite. •

However, l'eterson added, "we cin­ematographers tend to forget at limes tha t that piece or equipmen t has ~avcd everybody, too. The telecine scannc" now arc so sophisticated that If you had a problem or if you've gone from an in terior and had to run through a door and your iris pull on the camera wasn't quick enough, the teleclne can take care of that kind of thing for you. Especially in quick­moving dramas, people shoots. I think they look a lot better because of a good teleclne system.•

l~c hasn't been offered the type of features that "I want to jump at at this stage," but whether it's commercials o r features, or both, in his futu re:

"I defin itely love •hooting. Tha t's it for me.#

(Supplementary information pro­vided by Sesler 1:< Company, Toronto, Canadian agent for Barry Peterson) e

The Society would like to thank Kodak Canada Motion Picture & Television Imaging for generously donating print film and processing to photograph esc meetings, courses and events.

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TORONTO FESTIVAL BEARS All: PROJECT GRIZZLY ON PERSPECTIVE CANADA MARQUEE

Two documentaries by ci nema tograph er Tony Wannamaker of Toronto and llellcville were festival bound this summer, one dealing with the bizarre and the other the dark side or the Canadian temperament.

The feature-length (72 minutes) Project Grizzly, pro­duced by The National l'ilm Boa rd, was selected for the Perspective Canada slate at the 1996

Toronto International Film Festival Sept. 5-14. Tile Un-Cflllarlinns, co-produced by joanne Sma lc Com­munications ltd. and the NFB, was screened at the Montreal World Fi I m Festival Aug. 22-Sept. 2. Project Grizzly (CSC News january/96) is described by director Peter Lynch as "an entertaining examination of the human project where reality, dream and myth col­lide." It features North llay, Ont., scrap dealer Troy Hurtubise as a kind of Robo· Ranger who dons a self­designed futuristic suit of

ROBD-RANGE.R: In a S<eno from the NIB's Pro;e<t Grizzly, bear spedalist Troy Hurtubise gets help dosing up his self·mode,Unus Mor\ VI beor suit.

1 4 CSC NEWS Sep~ember I 996

armour to study the behav­iour of grizzly bears up close. The film was shot in North Bay, Toronto, London and the Rocky Mmmtains, where, Wannamaker said, "we ultimately decided it had to have a big john Ford western feel. Not unlike Ford's treatment of Monument Valley, we planned to give the viewer a vast perspective of our cher­ished Canadian geography In a western-genre shooting style. •

Tile Un-Carmdinns, dl r­ected by Len Scher and based on his 1992 book, deals with the little-known story of thousands of Canadians who were secret­ly "blacklisted" by their gov­ernment during the Cold War years. Unlike the public un.American witch hunts of j oseph McCarthy in the United States, suspected Canadians never knew they were being investigated and the government denied that insidious blacklistings were taking place.

Wannamaker, who shot footage in Montrea l, Ottawa, Sudbury and Toronto, said of Tl~e Un­Cnrrntlinns experience: "I walked away from some of the scenes emotionally choked up. Clearly, the blacklisting casualties that we talked to had their lives tragically altered and some destroyed."

SHOWBIZ EXPO CANADA: VARIETY PRESENTS

A CSC-sponsored panel on Film Vers11s Virloo in tire Digital Age Is one of the high lights of Variety's ShowBiz Expo Canada at the Metro Toronto Convention Centre Sept. 7-8. Held in conj unction with the Toronto International Film Festival, the exposition is Variety's first trade show

and conference outside Los Angeles and New York. The Sept . 8 esc panel features Richard Stringer esc, author of a film/video study in the CSC News (Aprii-May/96); joan Hutton esc; Lance Carlson; Rob Sim of Sim Video; and a representative from Sony.

Also at Showbiz Expo is O.l.E. Canada Inc., Canadian distributor of Aaton cameras and other film and sound equipment. It's the Montreal company's first show since 1992, and the first time displaying its full range of products under one roof.

DOING TIME IN T.O.: fEATURE WRAPPED

Vancouverite Danny Nowak esc has been hang­ing around Toronto the last few months, shooting a fea­ture tentative!)• entitled Men With Grms for Northstar. It wrapped last month. Nowak1 who was in town for pre-production in March, dropped in for dinner at the esc Awards gala.

APPliED ELECTRONICS: NEW SOURCE FOR DVCPRO

Applied Electronics now is the nationwide dealer for l'anasonic broadcast equip­ment, including the new, ultra-compact DVCI'ro line. DVCPro is a component dig­ital format that offers "full­featured, lightweight, com­petitively priced, fu ll broad­cast performance to innova­tive, future-oriented profes­sionals.• The DVCI'ro sys­tem components include the AJ-0700 full-sized cam­corder (CSC News December/95).

WESCAM ANNOUNCEMENTS: GROWING THE BUSINESS

Wescam Inc. of Flamborough, Ont., a leader in the design and manufac-

ture of stabilized aerial cam­era and video transmission systems, has announced sev­eral key corporate moves. Wescam has signed a leiter of intent with the Environ mental Research Institute of Michigan to use in commercial markets the radar mapping technologies developed by ERIM. Wescam and ERIM will invest in a join t venture com­pany ca lled lntermap Technologies Ltd.

Earlier, Wcscarn pur­chased I 00 per cent of TV2 Ltd. of Wellingborough, England, whose l>rincipal

activity is the outside tele­vision broadcasting of sporting events and the renta l of associated equip­ment. TV2 pioneered the use of miniature on-board cameras in Formula One racing cars and on racing motorcycles, and covers cycle races, marathons and offshore power and sail boat races. Wescam also confirmed th e p urchase of Broadcast Sports Technology Corp. of Oden ton, Md., the North American leader in provid­ing microwave services and remo te camera systems to the live broadcast sports indust ry. BST covers all major car races and o ther sporting events such as the America's Cup sailing com­peti tions and principa l golf

tournaments. Wescam president

Mark Chamberlain also announced the appoint­ment of Bruce Latimer as vice-president, general counsel and corporate sec­retary.

POSTCARD fROM ATLANTA: "GOOD OlD SOUTHERN HOSPITAliTY"

Bob Brooks esc took time out from his busy shooting schedule at the Atlan ta Olympic Games to send this postcard report:

"Greetinss from tire Soutlr. Hot but 1101 wrcomforta/Jie.

Going extremely well. Tlris is my 4tlr Olympics witlr Bud GreenspmJ1 our producer-direc­tor. -3 OOPs of wlriclr I am one -18 3-persorr camera cre1vs (camerperson, A.C. nnd P.A.) -6 sound cmvs, total staff of 105, 30 varrs, big big for a documentary. Nopefitlly we miglrt wirr arrotlrer Emmy. £rrjoyirrs tire good old SQutlrem lrospitalicy. Tire Atlarrtn crews nre great and very eager."

Greenspan's Cappy Productions, the official Olympics film company, won th ree 1995 Emmy Awards for Wlelrmrrmer '94: 16 DaysQfGiory. One of the Emmys, for cinematogra­phy, went to Brooks and 16 Norwegian shooters. Brooks was DOP for the Olympic films in Calgary and Seoul in 1988. e

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esc NEWS Septembe< 1996 1 s

• ct1on Production Notes

FIX TH£ SERrES (Series) CfV /Syndicated; !'rod: Norman Denver; Olr: various; OOPs: J. Oyer, 0 . Underschultz; Shoot: to Dec. 18; Tel: (416) 461-9660 PSI FACTOR (Series with Dan Aykroyd) Atlantis/Global; Prod: johnCalvert; Dir: various; DOP: Mike McMurray esc; Shoot: to December; Tel: (416) 203-8777 TRAVERS (Series) Atlantis; Prod: Mary Kahn; Dlr: various; DOP: Philip Earnshaw esc; Shoot: to October; Tel: (416) 466-4245 Trt£ FAIRY GouM01'HFR (Feature with Marlin Short) Universal; Prod: Michael Glick; Dir: Michael Ritchie; DOP: Rail Bode; Shoot: to Oct. It; Tel: (416) 487-5244 BAll DAY o.~ TH£ Bwcr< (Feature with Charlie Sheen, Mare Winningham} Largo Entertainment; Prods: Alan Beattie, Chris Che.,ser; Dir: Craig Baxley; DOP: TBA; Shoot: Sept. 23-Nov. 8; Tel: (416) 533-6644 n1£ COI.OUR OF /US11C£ (Olble) Showtlme; Prod: Patrick Whitley; Dir: jeremy Kagan; DOP: TllA; Shoot: Sept. 3-0ct. 5; Tel: (416) 537-4474 FIRST To Do No HARM (MOW with Meryl Streep) l'ebblehut/CilS; l'rod: Michael Jaffe; Dir: Jim Abrahams; DOP: Robert Stevens; Shoot: from September; Tel: (416) 778-0990 Fv.s11 f"o•w••o (Series) Atlantis/Disney Channel; Prod: Peter Mcyboom; Dir: various; DOP: David Perrault; Shoot: to December; Tel: (416) 237-1913 MIMIC (Feattuc with Mira Sorvinol Miramax; l'rod: BJ. Rack; Dir:Guillcrmo Del Toro; DOl': Dan Laustsen; Shoot: Sept. 22-Nov. 30; Tel: (416) 463·0381 Mu•o£R ,,r 1600 (Feature with Wesley Snipes) Warner; Prods: Ralph Singleton, A. Kopelson; Dir: Dwight Little; DOP: Steven Bernstein; Shoot: to Oct. 21; Tel: (416) 463-3308 Woo (Feature) New Line Cinema; Prod: Bill Carraro; Oir: Daisy von Scherler Mayer; 001': jean Lepine; Shoot: Sept. 16-0ct. 29; Tel: (416) 203-8660 Wmo AT M>' BACK (Series) Sullivan/CBC; Prods: Kevin Sullivan, Ray Sager; Dlr: various; DOl': Bob Saad; Shoot: to December; Tel: (416) 288-1286

Atlantic EMru' OF New MooN (Series) Cinar/Salter Street; Prod: TBA; Dir: TBA; DOP: TBA; Shoot In P.E.I.: Sept. 9-December; Tel: (902) 492-3777

British Columbia and Alberta VIPER (Series) UPN; Prod: Barbara Kelly; Dir: various; DOP: Scott Williams; Shoot: to December; Tel: (403) 948-1943 DEEP RISING (feature with Treat Williams) Qllamari/Disney; Prods: Laurence Mitrk, john l~ldecchi; Dir: Steve Sommers; OOP: Howard Atherton; Shoot: to Oct. 10; Tel: (604) 291-6785 }AKE ANI> filE Kill (Series) Olnwest Global; Prods: Peter Lhotka, Arvi l.iimatainen; Dir: various; DOP: james jeffrey; Shoot: to October; Tel: (403) 438-8400 1\t'O (Series) Two Telcvison Prods; Prod: N. john Smith; Dir: various; DOP: Perci Young; Shoot: to Dec. 2; Tel: (604) 983-5068

16 CSC NEWS Seprembet 1996

Til£ X-FnF.S (Series) Fox; Prod: J.P. Finn; Dir: various; DOP: Ron Stannett esc; Shoot: to May/97; Tel: (604) 983-5391 BooKWORM (Feature wiUl Anthony Hopkins, Alec Baldwin, Elle MacPherson) 20th Centwy Fox; Prod: Art Llnson; Dir: Lee Tamahod; DOP: Donald McAlpine; Shoot: to November; Tel: (403!258-1 500 F1R£S1.0RM (Feature) Fox; Prod: Louise Rosner; Dir: Dean Semler; DOP: Stephen Windon; Shoot: to November; Tel: (604) 990-4663 FRt£ WntY Ill (Feature) Warner; Prod: jennie Lew Tugend; Oir: Sam Pillsbury; DOP: Tobias Schliessler; Shoot: to Oct. 10; Tel:(604) 983-5620 HIGIIvtNv£• (Series} l'ilmline; Prod: Ken Gord; Dlr: various; 001': Rick Wincenty; Shoot: to Oct. 9; Tel: (604} 415-0880 T11£ l..t<URAS M AN (Series) Turner; l'rod: l.cs Kimber; Dir: various; DOl': Ros> Machi; Shoot: to November; Tel: (403) 252-3338 MilLENNIUM (Series) Fox; Prods: Chris Carter, john Kousakis; Dir: various; DOl': Rob McLachlan esc; Shoot: to Dec. 10; Tel: (604) 983-52.10

No•ru Ot 60 (Series) Alliance; Dir: various; DOl': Dean llennett; Shoot: to Nov. 22; Tel: (403) 949-2124

TH£ Ourr• Ll\111$ (Series) ShoMime; Prod: Brent-Karl Clackson; Dir: various; DOP: Rick Winccnty; Shoot: to May/97:

Tel: (604) TBA ru~ S£NnNEI. tSeries) l'aramount/UI'N; l'rods: Michael Lacoc, Bob Hargrove; Dir: various; OOPs: Tony Westman esc, john

Connor; Shoot: to january/97; Tel: (604) 983-536 1

C SC CALENDAR Schedule of Fall Meetings aud

Events of Interest to CSC MemiJers

TORONTO

Sot./Sun., Sept. 7· 8- Thc fir.t Variety Presents ShowBiz El<po Conoda. Trade >how and confer· ence include. CSC·sponsa<ed ponel. Film Ver.svs Video in the Digital Age, ol which Richard Stringef CK prerents and discusses the result> of tests with various ~lm and .ideo cameros. At the Metro Toronto Convention Centre. Wed IMda); Sept. 2.5, 7:30p.m. ~loirmont Camero hosls on open house for esc members ot ill new Toronto facility, and R<!M Daigle of O.LE. Conodo demonstrotes the new Acton 35mm camera. At I 6 Ovcrleo Slvd. 5clMday, Sop. 28, Nocr>6 p.m.­Gooerol open house of Clairmont Camero. Sai./Sun., Oct. 19 ·2o-VPM Direct production trade show, featuring lighting and Steodicom seminors/demonstrotioos

sponsored by the esc. Tuesday, Nov. 12, 7:30 p.m. - Sony of Canodo and Precision Camero Inc. present ne'YI Sony DVCom and on update on other Sony digital technology. AI Precision Camero, 181 Carlow Ave. Sot./Sun., Nov. 23-24 -So sic I 6mm film workshop cOV<trs setup and operation of 16mm professtonol corooros (primarily Arri I 6SR and Aolon XTR). At CincAsst, 332 Dupont Ave. Sot./Sun., Nov. 30·Dec. 1 - Sosic lighting workshop covers setup and procedures fa< studio and mm set lighting. At Woila<e Studios, 258 Wallace Ave. Eoch workshop cosls $225 ro.. esc !Mmben, $300 for non· members. Call CSC offia~ (416) 966·67 I 0 to regist«, or lonc::e Carlson ot (4 I 6) 44 I ·3444 fa< information.

"Live From Canada" tjMd Amcucal

Vancou,·cr Preloght May II , 1996 ShoOI May 12, 1996

Coast to Coast in 5 Days!

Cal gar) Prelight May 12, 1996 Shoot: May 13, 1996 Ouawa

Pretlght: May 14, 1996 ShOOt: May 15, 1996

Quebec Cit)' Prellght: May 15. t 996 ShOOt: May 16, 1996

llalifax Pretlgllt: May 16, 1996 Shoot: May 17, 1996

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